SLR Magic introduces HyperPrime Cine 10mm T2.1 for Micro Four Thirds

SLR Magic will introduce at Photokina a new HyperPrime lens for Micro Four Thirds, the Cine 10mm T2.1. Equivalent to a 20mm wide angle prime on a Micro Four Thirds camera, the manual focus lens is built with 13 elements in 12 groups, offering a stepless aperture ring for smooth transition of exposure. Also introduced is a variable ND filter, the SLR Magic 77 ND 0.4-ND 1.8. It provides a reduction of 1.3 to 6 stops. The SLR Magic HyperPrime Cine 10mm T2.1 will cost $799/£699 and the 77 ND 0.4-ND 1.8 filter will cost $179/£149; both will be available at the end of October.

SLR Magic expands its micro four thirds lineup with new wide angle lens

Hong Kong, China (September 3, 2014) - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime CINE 10mm T2.1 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of thirteen focal lengths. The product will be officially introduced during upcoming Photokina 2014 fair in Cologne.

The field of view of this new HyperPrime Lens corresponds to a 20mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T2.1 makes the SLR Magic HyperPrime CINE 10mm T2.1 ideal for available-light photography.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime CINE 10mm T2.1 is solid and reliable.

The SLR Magic 77 ND 0.4-ND 1.8 filter is a solid variable neutral density filter providing a reduction of about 1.3 to 6 stops. The 0.4 to 1.8 density creates a darkening of the entire image, allowing you to photograph with a wider aperture or slower shutter speed than normally required. The degree of density is easily controlled by rotating the front filter ring via the non-removable lever. By slowing your exposure time you are able to control depth of field and convey movement more easily. Both filter substrates are combined into one filter ring, this filter is low profile and helps to eliminate vignetting on most lenses. The front filter ring diameter is 86mm in diameter, further helping to reduce vignetting, on wide angles lenses such as the SLR Magic HyperPrime CINE 10mm T2.1 lens.

The SLR Magic HyperPrime CINE 10mm T2.1 will be first presented at Photokina 2014 fair. The SLR Magic stand would be in (No. L-011, Hall 5.1) during the fairs which are to be held in Cologne from 16th to 21st of September 2014. For all those who want to visit Photokina 2014 fairs.

SLR Magic is currently looking for volunteers to test this lens at a special price. If interested:

Send an email to support@slrmagic.com with the subject "SLR Magic 10mm T2.1 volunteer".

Include sample videos/photos or link to photo/video reviews you have done in the past.

Some of their lenses look well made and a picture on their website one had made in Japan stamped on it. Was just wondering if they contract designs to another maker or are actually a manufacturer themselves.

I want a pony that shites diamonds and pieces fine scotch.I see the superiority complex gear heads have poked their horns in. It should be f.95 at a quarter the cost and quarter the size. I fart in your general direction if you are less than a 35mm sensor size devotee. All worship "FF" and the virgin Leica from whom gave birth to our lord DOF control. Throw some APSC sensor owners in the volcano to appease our gods anger of those who blaspheme his sensor size. Lay waste to any M43 user and take 1" users as slaves and concubines.

In any case, cinematographers are unlikely to be interested in DoF/diffraction-equivalence. For them it's about exposure. And if you think of exposure in equivalent T-stops, you need to use "equivalent ISO" as well for it to make sense.

T stands for transmission and takes into account any light absorbed or scattered by the elements of a lens, so it depends on the lens. This is the reason there is no precise 'formula' to convert F stops to T stops and vice verse, as different lens designs require different amounts of compensation. Example : the Angenieux 12-120, at F stop f2.5, is T2.2 and so on

The Majority of of Cin lenses that are calibrated and marked for both always have a T number that is lower than its corresponding F number. I have never seen or heard of a lens whose related F & T numbers were the reverse.

Nonsensical. You don't expect shallow depth of field with a 10mm lens (or 20 mm for 35mm frame only idiots) so that BS of multiplying the T-stop or F-stop has no validity. This is a t-stop rated lens because accurate exposure is more important than depth of field in the video work for which this lens is intended.

You had me until "Manual Focus". Manual Focus would be great for the interior architecture shots that this lens was intended for. However, I need it for low light action shots which really require good AFF.

Hyperfocal? 10 f/2 on mft has hyperfocal of 10 ft, with near limit of 5.23 ft. Now try to shoot, say, a bathroom for a real estate listing, from a corner. You'll need both a wider lens and a smaller aperture. And electronic contacts to tell the camera the current FL if you want to save time and shoot without a tripod or extra light with a camera with IBIS (which is totally possible with Oly 3-axis or 5-axis systems).

Many cameras today include built-in image stabilization systems, but when it comes to video that's still no substitute for a proper camera stabilization rig. The Ronin-S aims to solve that problem for DSLR and mirrorless camera users, and we think DJI has delivered on that promise.

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